The end of the Venetian Republic

Peace treaty saw Venice given away to Austria

Venice in the days of Austrian rule, as depicted by the
18th century artist Canaletto

A peace settlement signed in a small town in north-east Italy on this day in 1797 heralded a dark day for Venice as the Most Serene Republic officially lost its independence after 1,100 years.

The Treaty of Campo Formio, drawn up after the Austrians had sought an armistice when faced with Napoleon Bonaparte's advance on Vienna, included an exchange of territory that saw Napoleon hand Venice to Austria.

It marked the end of the First Coalition of countries allied against the French, although it was a short-lived peace.  A Second Coalition was formed the following year.

The Venetian Republic, still a playground for the rich but in decline for several centuries in terms of real power, had proclaimed itself neutral during the Napoleonic Wars, wary that it could not afford to sustain any kind of conflict.

But Napoleon wanted to acquire the city nonetheless, seeing it as a potential bargaining chip in his empire-building plans and had his eye on its vast art treasures.  In May 1797 he provoked the Venetians into attacking a French ship and used this as an excuse to declare war.

The reaction of the Venetian Grand Council and the last of its Doges, Ludovico Manin, was to vote the Republic out of existence and surrender, which put the city under French rule.  When the city and the nearby islands had been secured, 4,000 soldiers of Napoleon's army staged a parade in Piazza San Marco (St Mark's Square). It was a humiliation for Venice, the first time that foreign troops had set foot in the city.

Ludovico Manin, the last Doge of Venice, in
a portrait by Barnardino Castelli

Systematically, the French began a programme of asset stripping, their plunder including the bronze Lion of Venice in St Mark's Square.

Within six months, however, the peace accord with the Austrians gave Napoleon the chance to use Venice as part of the settlement, taking Lombardy and the area of Belgium then known as the  Austrian Netherlands in return.

The city became part of Napoleon's newly formed Kingdom of Italy in 1805 but the Austrians seized control again when Napoleon was defeated in 1814.

Venice's resentment of the French was matched by their dislike for the Austrians, even though the city's new rulers were instrumental in building the railway that connected them to the mainland, opening the way for a new era of prosperity.

The Venetians rose up in rebellion in 1848, staging a general strike and recruiting a militia of 4,000 men, briefly driving the Austrians out. The new Republic of San Marco declared independence in March 1848 and a year passed before the Austrians reclaimed the city, its navy sailing into the lagoon and laying siege until, starving and fighting a cholera epidemic, Venice surrendered.

The Austrians were finally driven out by Victor Emanuele II's army during the wars of Italian unification, at which point Venice became part of the Kingdom of Italy via the Treaty of Vienna. 

Travel tip:

The town known as Campo Formio at the time of the Treaty subsequently changed its name to Campoformido.  Situated just to the south-west of Udine, the capital of the Friuli Venezia Giulia region, the town is also historically important as the seat from the 12th century onwards of the Parliament of Friuli, one of the oldest parliaments in the world.  The Treaty was signed at the Villa Manin, the country home of Ludovico Manin, the last Doge of the Venetian Republic.

The Lion of Venice sits atop one of two columns
at the end of the Piazzetta of St Mark's

Travel tip:

The Lion of Venice, which sits atop one of two granite columns, standing guard at the lagoon end of the Piazzetta adjoining St Mark's Square, was lifted down and taken to France in 1797, where it remained until being repatriated in 1815 with the fall of Napoleon.  It was badly damaged on both legs of the journey, losing its griffin-like wings, its tail, its front paws and the gospel book upon which they rested on the outward journey.  Restored and mounted in the Place des Invalides in Paris, it was dropped as workmen lifted it down for the return to Venice, where it arrived in 20 pieces.  The fragments were pieced together by the sculptor Bartolomeo Ferrari.

More reading:

Napoleon crowns himself King of Italy

Austrians driven out in Battle of Marengo

Battle of Solferino and the birth of the Red Cross


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Palma Giovane - painter

Mannerist took the mantle of Tintoretto 

Jacopo Negretti, the Venetian artist better
known as Palma Giovane

The Venetian artist Jacopo Negretti, best known as Jacopo Palma il Giovane - Palma the Younger - or simply Palma Giovane, died in Venice on this day in 1628.

Essentially a painter of the Italian Mannerist school, Palma Giovane's style evolved over time and after the death of Tintoretto in 1594 he became the most revered artist in Venice.

He became in demand beyond Venice, too, particularly in Bergamo, the city in Lombardy that was a dominion of Venice, and in central Europe.  He received many commissions in Bergamo and was often employed in Prague by the Habsburg Emperor, Rudolph II, who was a noted art connoisseur.

Palma had been born into a family of painters. His great uncle, also called Jacopo, was the painter Palma Vecchio - Palma the Elder - while his father, Antonio Negretti, was a pupil of the elder Palma’s workshop manager, Bonifacio Veronese, whose shop and clientele he inherited after the latter’s death.

The younger Palma is said to have developed his skills making copies in the style of Titian, although the claim in some biographies that he worked in Titian's workshop in Venice is now thought to be incorrect. What is not disputed is that when Titian died, in 1576, Palma was entrusted with finishing his last work, the Pietà, in the Accademia in Venice.

In 1567, Guidobaldo II della Rovere, Duke of Urbino, had recognised Palma’s talents and sponsored him to further his education in Rome, where he remained until about 1572.

Palma Giovane's 1620 Lamentation of Christ,
at the National Gallery of Art in Washington

On his return to Venice, Palma received his first major public commission, to paint three scenes in the Sala del Maggior Consiglio of the Doge’s Palace following a fire there in 1577.

Mannerism, from the Italian word maniera, meaning style, is characterised by frequently complex figures with elongated features, often given exaggerated, unusual poses.  It is seen as a reaction to High Renaissance art, which emphasised proportion, balance and idealistic beauty.

By the mid-1580s Palma was incorporating Tintoretto’s versatile figure postures and echoes of Titian’s loose brushstrokes and emphasis on light.

Palma worked alongside Veronese and Tintoretto on the decorations in the Doge’s Palace, where he embraced the Venetian tradition. Some of his finest works were the cycles of large canvases he painted for schools or religious brotherhoods and for sacred buildings such as the sacristies of San Giacomo dall’Orio and the Gesuiti, the Scuola di San Giovanni Evangelista, and the Ospedaletto dei Crociferi.

His official commissions at the Doge's Palace included a magnificent portrait of Saint Pope Pius V, commissioned by the Bellanti Counts, an influential family in Tuscany.  The painting left Italy after being bought by Major-General Sir Robert Dick, the British soldier and collector, before being returned by Roberto Gagliardi, an Italian art dealer based in London, who purchased it at Bonham's for display at the Museum of Art he established at Chianciano, not far from Siena.

After his death at the age of 80, Palma was interred in the Basilica dei Santi Giovanni e Paolo, a traditional burial place of the doges.

The Basilica dei Santi Giovanni e Paolo in
Venice, where Palma Giovane is buried

Travel tip:

The huge Gothic Basilica dei Santi Giovanni e Paolo, where Palma Giovane is buried, is in the Castello district of Venice.  It is one of the largest churches in Venice and after the 15th century the funerals of all Doges took place there.  In all, it houses the tombs of 25 Doges.  There are many works by Veronese in the Chapel of the Rosary, as well as paintings elsewhere by Lorenzo Lotto and sculptures by Pietro Lombardo.  Outside is a statue of Bartolomeo Colleoni, the Bergamo condottiero (mercenary) and a former captain-general of the Republic of Venice, by Andrea del Verrocchio.

Travel tip:

Several of Palma Giovane's works commissioned in Bergamo are on display at the Accademia Carrara, a magnificent palace just outside Bergamo's Città Alta that was built in the 18th century to house one of the richest private collections in Italy. Visitors can view works by the masters of the Venetian, Lombard and Tuscan Renaissances as well as great artists who came later, such as Lotto, Titian, Moroni, Rubens, Tiepolo, Guardi and Canaletto.  The gallery, in Piazza Giacomo Carrara, is open Monday, Wednesday and Thursday (10am to 7pm); Friday (10am to 12 noon) and Saturday and Sunday (10am to 8pm).

More reading:

Titian - giant of Renaissance art

Tintoretto - dyer's won whose work still adorns Venice

How Guardi captured the final glory years of the Venetian Republic

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Francesco Guardi - painter

Artist evoked image of republic’s final years

A portrait of Guardi by his
contemporary, Pietro Longhi

One of the last great artists of the Venetian school, Francesco Lazzaro Guardi, was born on this day in 1712 in Venice.

Guardi’s wonderful scenes of crowds, festivals, regattas and concerts in Venice have kept the heyday of the republic alive for future generations to enjoy in art galleries all over the world.

The artist was born into a family of nobility from Trentino, who lived in a house in the Cannaregio district of Venice.

Guardi’s father and brothers were also painters and his sister, Maria Cecilia, married the great Venetian artist, Giovanni Battista Tiepolo.

Guardi’s first known works were painted in the 1730s in Vigo Anuania in Trentino, where he was working alongside his older brother, Gian Antonio.

Guardi's painting of the Doge's state barge, the Bucintoro, near
 the Riva di Sant'Elena, which is housed at the Louvre in Paris

The first work to be signed by Guardi is the picture Saint Adoring the Eucharist, which was painted in about 1739.

Guardi seemed equally comfortable painting landscapes or figures, but his early views of Venice show the influence of Canaletto on his style.

In 1757 Guardi married Maria Mattea Pagani, the daughter of another painter, Matteo Pagani.

One of his most important works was The Doge’s Feasts, a series of 12 canvases commissioned to celebrate the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo.

Guardi was also commissioned by the Venetian authorities to paint six canvases to celebrate the visit of Russian Archdukes to the city, of which only two remain.

This view of St Mark's Square is among the Guardi works
that can be seen at Accademia Carrara in Bergamo

The Academia Carrara in Bergamo has some fine examples of Guardi’s paintings in its collection, such as the Friars’ Cloister, the  Façade of Palace with Staircase and some wonderful views of Venice.

As Guardi grew older his style became noticeably different from that of Canaletto, who focused on the glamour of Venice, often showing it in bright sunshine.

Guardi often painted cloudy skies above the city at dusk, accurately conveying the mood and atmosphere of each scene. Some of his paintings evoke the onset of the decline of Venice’s empire, such as his landscape, Fire in the Oil Depot in San Marcuola, which was painted in 1789.

Guardi died in Cannaregio in 1793 at the age of 80, four years before the end of the Republic of Venice.

The house in Campiello della Madonna, a small square in
Cannaregio, where Guardi lived for much of his life

Travel tip:

Cannaregio, where Guardi was born and died, is a peaceful quarter of Venice, with crumbling, shuttered houses and little shops and bars that are still patronised by Venetians. Among the architectural masterpieces of the area are the Gothic church of Madonna dell’Orto and the early Renaissance church of Santa Maria dei Miracoli.

Travel tip:

Bergamo’s Accademia Carrara has a fine collection of paintings by Guardi including views of L’Isola di San Giorgio, Il Rio dei Mendicanti, Il Ponte di Rialto and Piazza San Marco. The Accademia Carrara is housed in a magnificent palace just outside Bergamo’s Città Alta, built in the 18th century to house one of the richest private collections in Italy. It is the only Italian museum to be entirely stocked with donations and bequests from private collectors. Visitors can view works by the masters of the Venetian, Lombard and Tuscan Renaissances as well as the great artists who came later, such as Guardi, Lotto, Titian, Moroni, Rubens, Tiepolo and Canaletto. For more details visit www.lacarrara.it.

(Photo of Guardi's house by Didier Descouens CC BY-SA 4.0)

More reading:

Tiepolo: 'greatest decorative artist of 18th century Europe'

Titian - giant of Renaissance art

How Pietro Longhi captured everyday life in 18th century Venice

Tintoretto - the dyer's son whose work still adorns Venice


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San Pietro Orseolo – Doge of Venice and monk

Rich powerful Doge made a life-changing decision

Pietro Orseolo, a former Venetian Doge who joined the Benedictine order, died on this day in 987.

Piazza della Libertà in Udine, birthplace of  Pietro Orseolo.  

He was canonised by Pope Clement XII in 1731 and his feast day is celebrated on the anniversary of his death on 10 January each year.

Pietro Orseolo became Doge of Venice in 976 but after just two years in office he left his palace in the middle of the night to go to France to become a monk.

Orseolo was originally from a powerful family in Udine and at the age of 20 became commander of the Venetian fleet waging successful campaigns against pirate ships.

He was elected Doge after the previous ruler of Venice had been killed in a revolt. Orseolo restored order to the city, built much needed hospitals and cared for widows and orphans.

He started to rebuild the Doge’s palace and St Mark’s Basilica using his own money. But he suddenly left Venice to travel to southern France with three other Venetians to join a Benedictine abbey. It is believed he told no one about his decision in advance, not even his wife and family.

After some years living as a monk performing menial tasks at the abbey, Orseolo went to live in the surrounding forest as a hermit. He continued to live like this for seven years until he died in 987.

Orseolo funded a rebuilding project on St Mark's Basilica
in Venice before leaving for France.

Forty years after his death he was beatified and 700 years later he was made a saint.

Travel tip:

Udine, the birthplace of San Pietro Orseolo, is a city in the region of Friuli Venezia-Giulia not far from Italy’s border with Slovenia. In the principal square, Piazza della Libertà, there are beautiful 15th century Venetian-style buildings, such as the town hall, Loggia del Lionello, and clock tower, Torre dell’Orologio, which resembles the one in Piazza San Marco in Venice. 

Travel tip:

Bacino Orseolo in Venice, a wide stretch of water where gondolas are moored near Piazza San Marco, is named after Doge Pietro I Orseolo, who established a hospice for pilgrims there in 977, one of the good works he accomplished before he left Venice to become a monk.

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